For Chamber Ensemble.Commissioned by the Hebrides Ensemble and first performed on their Scottish tour in March 2010.In Seven Pierrot Miniatures I took the Commedia dell’arte character Pierrot as my primary sourceof inspiration. Other more tenuous links to Schoenberg’s Pierrot Lunaire also served as a starting point in forming the general shape of the work. The piece is cast in seven short movements whereas the Schoenberg comprises threesets of seven movements. Although there is no part for voice I have taken seven poems by Albert Giraud (none of them set in Pierrot Lunaire) as points of departure:1. The Clouds2. Decor3. Absinthe4.Suicide5. The Church6. Sunset7. The HarpEach movement takes its impetus from the corresponding poem but in the piece as a whole I wanted to explore the extreme contrasts of the multi-faceted character ofPierrot in a musical setting. There is an almost mirror-like quality to the form of the piece and a sense of ending where it has begun: movements 1 3 5 and 7 are closely linked both in terms of their musical material and asense of melancholy dream-like quality and longing. Movements 2 and 6 are also strongly connected with allusions to the more mischievous violent side of Pierrot. Movement 4 serves as a sort-of pivotal point within the work juxtaposing a surreal shimmering calm with brutal outbursts. There is never any direct repetition yet there is a strong sense of material returning and mutating as the workunfolds.InstrumentationFlute doubling piccoloClarinet in Bb doubling Bass Clarinet in BbViolin doubling ViolaCelloPiano

Sur Les Mouvements Rotatoires En Quarts De Ton. Par WYSCHNEGRADSKY IVAN ALEXANDROWITSCH. Cette pièce est régie par un principe similaire à celle qui obtient dans le ' Etude sur le Carré magique sonore ' (BEL 174). 8 cycles d'intervalle succèdent à proximité et forment une sorte de mouvement octogone qui est érigé et puis démantelé. Le cycle des quintes diminuées arrive à une conclusion qu'après qu'il a traversé 13 octaves, c'est-à-dire au-delà des limites de ce qu'est réellement audible. La requête posèrent est plus apparente au début et à la fin, où la roue moud graduellement arrêter. Entre là sont des passages avec des grappes de ton denses et trilles cordal. (Gottfried Eberle)/ Répertoire / Orchestre de Chambre